His religious music is so highly appreciated today that there are few Protestant churches in Germany in which cantatas from this period are not performed – this is what Johann Ernst Bach, the Weimar Kapellmeister and nephew of the famous Johann Sebastian, wrote about the work of Georg Philipp Telemann in 1758.
18th Goldberg Festival, photo: Polish Royal Opera
In fact, the universal nature of the cantatas published in 1726 in the cycle entitled Harmonischer Gottes-Dienst allowed them to be used both in the temple and in home music-making. The cantata Wer ist, der dort von Edom kömmt TWV 1:1584 included in the concert program is intended for the Sunday preceding Palm Sunday, and its theme is penance, the sacrifice of Christ and redemption.
Another excellent example of the Baroque musical language rich in symbols and unparalleled compositional inventiveness are the church cantatas of Johann Sebastian Bach. The original version of the cantata Ich habe genug BWV 82 was written in 1727 for a solo bass voice, but already in 1730 or 1731 Bach rewrote the cantata for soprano. The theme of the piece intended for the Feast of the Purification of the Blessed Virgin Mary is the longing for death, which for a Christian is the gateway to union with Christ.
During the concert, we will also hear pieces by Baroque masters who co-created the rich musical landscape of 18th-century Gdańsk. The title of the concert was taken from the cantata Herr, nun lässest du deinen Diener by Johann Jeremias du Grain, a student of Telemann and born in Gdańsk. The charming variation form of the chaconne for violin, bassoon and continuo highlights the artistry and inventiveness of Johann Valentin Meder, who for over a decade served as the Kapellmeister of the Church of the Blessed Virgin Mary in the Baltic city. The excellent harpsichordist and composer Johann Gottlieb Goldberg was a native of Gdańsk. It is possible that it was for him that Johann Sebastian Bach wrote the cycle of variations Aria mit verschiedenen Veränderungen, called – after the name of the first interpreter – the Goldberg Variations.
source - Polish Royal Opera, Marta Dziewanowska-Pachowska
PROGRAM
Georg Philipp Telemann – Quartetto TWV 43:G2
Largo-Allegro-Largo | Vivace | Moderato | Grave | Vivace
Georg Philipp Telemann – Wer ist, der dort von Edom kömmt TWV 1:1584
Recitative: Wer ist, der dort von Edom kömmtAria: O welch ein Opfer, welch ein SegenRecitative: Die Sünde war zu großAria: So biet‘ ich mit vergnügten Schritte Johann Gottlieb Goldberg – Son ata a 4 DürG 14
Largo | Allegro | Grave | Giga
Johann Sebastian Bach – Ich habe genug BWV 82
Aria: Ich habe genugRecitative: Ich habe genugAria: Schlummert ein , ihr matten AugenRecitative: Mein Gott! wenn kömmt das schöne: Nun!Aria: Ich freude mich auf meinen Tod
Johann Valentin Meder – Chaconne in C
Johann Jeremias du Grain – Herr, nun lässest du deinen Diener
Aria: Herr nun lässest du deiner DienerRecitative: Wer Last und Hitze fühlet Aria: Denn meine Augen haben deinen Heiland g esehenRecitative: Ah ja, wer Jesum hat gesehnAria: Brechet, ihr verfallene Augen
PERFORMERS OLGA PASIECZNIK SOPRAN OLD INSTRUMENT ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA KRZYSZTOF GARSTKA POSITIVE/HARPSICHORD, CONDUCTOR
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